Annotated bibliography of selectedunaccompanied alto saxophone literature.

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Authors Trittin, Brian Lynn.

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Annotated bibliography of selected unaccompanied alto saxophone literature

Trittin, Brian Lynn, A.Mus.D.

The University of Arizona, 1993

Copyright @1993 by '!'rittin, Brian Lynn. All rights reserved.

V·M·I 300 N. Zeeb Rd. Ann Arbor, MI 48106

ANNOTATED BffiUOGRAPHY OF SELECTED

UNACCOMPANIED ALTO SAXOPHONE LITERATURE

by

Brian Lynn Trittin

Copyright © Brian Lynn Trittin 1993

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE

In the Graduate College

THE UNIVERSITY OF ARIZONA

1993 '

THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Final Examination Committee, we certify that we have

Brian L. Trittin read the document prepared by ---------------------------------------entitled

An Annotated Bibliography of Selected

-------------------------------------------------------------Unaccompanied Alto Saxophone Literature

and recommend that it be accepted as fulfilling the requirements for

the Degree of Doctor of Musical Arts

Date

Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College.

I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.

e;~~ Director ~

2

STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Ubrary to be made available to borrowers under rules of the Library.

Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript In whole or in part may be granted _bY :Ft holder.

Signed:~ . )\01l~

------- --------- -

3

ACKNOWLEDGMENTS

I would like to thank those who have helped with the completion of this document, and have contributed in one way or another to my musical education. Specifically, I would like to thank Elizabeth Ervin for all her help in overcoming the many trials and tribulations encountered in the pursuit of this graduate degree. I would also like to thank her for the help she has provided as a proof reader of this document; it is very much appreciated. Thanks and appreciation must also go to my colleagues and fellow saxophonists at the University of Arizona, David Lopez and Michael Hester. I have gained a substantial amount of knowledge working with these two wonderful saxophonists and musicians. Finally, thanks to all my music teachers who helped and encouraged me.

4

DEDICATION

This document is dedicated to my parents. They have always been there

to support their children and never push. Besides, they bought my saxophone

and I felt that if they were going to pay that much money for a horn, I had

better learn to play it.

-------- - ------ -- -

5

TABLE OF CONTENTS

ABSTRACT......................................................................................................................... 7

PROLOGUE......................................................................................................................... 8

HOW TO APPROACH UNACCOMPANIED MUSIC............................................................. 11

ANNOTATED BIBLIOGRAPHY OF SELECTED

6

UNACCOMPANIED ALTO SAXOPHONE LITERATURE ................................................ 16-122 Canto N, by Samuel Adler............................................................................. 16 Caprice en forme de valse, by Paul Bonneau ............................................ 22 Douze Esquisses, by Guy Lacour........... ......................................................... 26 Evocations, by Henri Tomasi......................................................................... 32 Improvisation et Caprice, by Eugene Bozza............................................... 36 Mal, by Ryo Noda...................................................... ......... .............................. 40 Monolog Nr. 4, by Erland von Koch............................................................. 46 Monologue, by Ronald Caravan.................................................................... 50 Music for Unaccompanied Saxophone, by William Schmidt................... 55 Parable XI, by Vincent Persichetti.............................................................. 59 Paridigms I, by Ronald Caravan...................... ............................................. 64 Petite Suite, by Walter Hartley..................................................................... 70 Phantasy, by Leon Stein................................................................................ 74 Piece Breve, by Eugene Bozza....................................................................... 78 Sequenza IXb, by Luciano Berio................................................................... 83 Son ate D'Etude, by Pierre Max Dubois........ ................................................. 87 Sonate, by leanine Rueff............................................................................... 92 Sonatina, by Barney Childs...... .......................................... ..... ................. ..... 97 Suite Franc:,;ais, by Pierre Max Dubois.......................................................... 103 Suite No.1, by 1.S. Bach, arr. Londeix.......................................................... 108 Suite No.1, by 1.S. Bach, arr. Ricker............................................................ 108 Syrinx, by Claude Debussy............................................................................. 116 Volio, by Paule Maurice................................................................................. 120

BIBLIOGRAPHY OF UNACCOMPANIED ALTO SAXOPHONE LITERATURE................. 123

ADDRESSES OF PUBLISHERS ......................................................................................... 130

LIS'f OF REFERENCES..................................................................................................... 134

ABSTRACT

This document annotates 23 unaccompanied alto saxophone

compositions, including original works and transcriptions. Selection of these

pieces was based on the following criteria: 1) works which are commonly

performed, 2) works by major composers, and 3) works which are important in

terms of innovative performance techniques. Each annotation provides a

synopsis of the composition, biographical information about the composer,

pertinent information concerning the composition (dedication, duration, etc.),

discussion about various performance considerations, a brief analysis, and

concluding statements about the work including a qualitative assessment.

Compositions annotated in the document include: Caprice en forme de valse by

Paul Bonneau, Mal by Ryo Noda, Sonate by Jeanine Rueff, Suite Fnm~ais by

Pierre Max Dubois and the Unaccompanied Cello Suite No. 1 by J. S. Bach arr.

Londeix and arr. Ricker (both editions are discussed). At the conclusion of the

document, a bibliography of approximately 300 unaccompanied compositions

for alto saxophone (including commonly performed transcriptions) is listed,

providing the title, composer, and publisher (if available).

7

PROLOGUE

The purpose of this document is to examine the body of unaccompanied

works available for the alto saxophone and annotate a representative number

of them. The author realizes there are also many unaccompanied compositions

composed for the soprano, tenor, baritone, and bass saxophone, but found it

necessary to limit the scope of this document. The author encourages the

reader to explore the unaccompanied works for these other instruments, since

many notable compositions can be found in this genre.

The organization of this bibliography has been designed in a specific

format that will allow the reader to use it with ease. The pieces chosen for this

annotated bibliography are listed in alphabetical order by title with the page

number in the table of contents. In addition, they are organized and presented

in the bibliography in alphabetical order by composer. The description and

analysis for each piece has been written in the following standardized format:

Synopsis, Biography, Composition Information, Performance Considerations,

Analysis, and Conclusions.

In the Synopsis section, basic information is given providing the reader

with an overview of each piece. This Synopsis includes title, composer,

arranger, publisher, date of composition, dedication, duration, and grade level.

The grade level is based on a scale of 1-10, 1 being the easiest and 10 the most

difficult. If a grade level is given by the composer or publisher, that level will

be used if the author feels that it is an appropriate designation. The author will

assign a grade level he feels appropriate if one is not provided. This is

determined by careful analysiS and numerous readings of the compOSition.

----- ----------------

8

The Biography section presents a brief biography of the composer and

the arranger (if applicable). It also lists other saxophone compositions by the

composer. The Composition Information section of the annotations is

descriptive in nature. It provides information about the piece of interest to the

reader, gives background information, and presents a general overview of the

work.

The Performance Considerations portion of an annotation addresses

specific performance issues, including, special techniques required, areas of

extreme difficulty, hints about phrasing, and other performance information.

The Analysis section examines each piece and discusses its thematic, formal

and structural properties. Areas that would be particularly interesting to the

saxophonist will be discussed in this section, such as: theoretical, formal, or

any unique compositional techniques used by the composer.

The Conclusion section discusses the quality of each piece. To determine

the quality of a work, the author considered the following parameters: 1)

structure, 2) recognizable themes and motives, 3) sufficient variation of the

themes and motives, and 4) the overall aesthetic effect of the piece. The author

also provides his evaluation of how the piece could best be used; for example,

as etude or study material, or for inclusion in a solo recital.

To conclude the document An Annotated Bibliography of Selected

Unaccompanied Alto Saxophone Literature, the author has provided an

alphabetical listing, by composer, of unaccompanied alto saxophone music.

This bibliography includes the composer's name, title, and the publisher. It

does not contain unaccompanied music that is specified for other members of

the saxophone family. Many of these works are not published. If the reader is

interested in a certain composer's work which is not published, he/she may

9

need to contact the composer personally to obtain the composition. This

bibliography is by no means complete, and may be missing some compositions

that have been composed or published in the past five years. They have been

omitted because many recent compositions are not published, and it is often

difficult to obtain up-to-date information from publishers.

It is the author's hope that these annotations of unaccompanied alto

saxophone music will make saxophonists aware of the vast amount of

unaccompanied music that is available. Many of the works annotated in this

document are of high musical qUality and merit performance. If the reader

has not examined unaccompanied saxophone literature in the past, these

annotations will hopefully provide some infonnation about them, and provide

the impetus to explore them further. Once the saxophonist performs

unaccompanied music, he/she will find that it add~ a new dimension to

performances and is worthy of study and performance.

When the author speaks about specific notes and note names, the

pitches will be as they are written in the saxophone score. The notes will be

further designated by the octave they are in as shown in the chart below.

8 v.a------e -e

.0. -& -&

1* 0

()

u -& B c 1 - B1 c 2 - B2 c3 - B3 c4 - B4

II

10

HOW TO APPROACH

UNACCOMPANIED MUSIC

Unaccompanied music is challenging to interpret and perform both

musically and technically. The solo performer must sustain every facet of the

work without assistance from an accompanist or fellow performers. In

addition, many unaccompanied pieces utilize non-traditional compositional

methods. This can be demanding for the performer who may be unfamiliar

with these types of compositional techniques. The performer should

understand the structural and/or thematic devices in the piece (even in

contemporary works) and be able to relay this to the audience through

his/her playing. This includes the theoretical and historical components of a

composition as well as the musical considerations.

Before attempting the performance of an unaccompanied piece, the

performer must have the ability to express music convincingly.

This is true of all performers and music, but it is even more so with

unaccompanied music because the performer must be both the soloist,

providing the melodic lines, and the accompaniment, providing the harmonic

support. Every facet of the performer's playing is exposed for the audience to

hear, and the performer is responsible for every musical consideration and

aspect of the preparation and performance of the piece. This is a large

responsibility for the performer, and one must be prepared in every way

possible to meet this challenge.

Another factor the performer must consider when choosing an

unaccompanied work is its length. It is important to recognize that wind

11

players often are accustomed to periods of rest and may have a problem with

endurance in an unaccompanied composition. Unaccompanied music rarely

has long periods of rests for the performer to relax; therefore, the performer

may find it difficult to perform even short unaccompanied compositions. In

addition, finding an appropriate place to breathe without destroying the

musical line is difficult.

Before beginning the study of an unaccompanied work, the performer

must consider some guidelines in choosing a piece. The first piece of

unaccompanied music a student chooses should be of an average difficulty

level, contain notation that is mostly familiar, possess only a few

contemporary techniques that are new to the student, and in general, contain

problems that are manageable. It should be technically within the student'S

means, so that he/she can focus on the unaccompanied element of the music

rather than the technical components. Ideally, the composition will be

challenging musically and technically.

The following is one approach to the study, analysis, and interpretation

of an unaccompanied work. This approach hopefully touches upon all the

factors of learning an unaccompanied composition, and the reader will find

that many of them correspond to how one should approach the study of any

piece of music.

Interpretation is always dependent on the historical and stylistic

context of the piece. The performer would not perform Bach in the same style

as a contemporary composer such as Caravan. Therefore, the performer must

examine the historic period during which the piece was composed. This is the

first step in finding an appropriate performance style for the work. One

should also consider the terminology used in that era. For example, when

12

performing a Bach suite, one must understand what a suite is, the movements

involved within the suite and a general idea of the tempo for each movement.

Listening is an essential aid in the interpretation of style. The

performer will want to listen to recordings of the composer's music, as well as

recordings of other music of the same historical period or in the same style.

Careful listening is an important primary step in developing a stylistic sense

of a period and in discovering various techniques used by performers when

creating a mUSically satisfying performance. A book that offers more help in

this area is The Art of Wind Playing (1975), by Arthur Weisburg. Weisburg

discusses performance techniques used to create a musical performance, and

also performance practices of the different periods in music history.

After one has determined an appropriate performance style, a

harmonic and structural analysis of the piece will lead to a better

understanding of the music. Contemporary pieces are often not organized in a

tonal manner, but contain some other organizational features such as pitch

centers, pitch sequences or motives, or sonorities. It is the performer's

responsibility to discover a composer's compositional technique for a given

piece because it may effect how the piece is interpreted. The same is true in

determining the structure of a composition. Most music is based on some type

of structure which the performer must understand in order to create a more

accurate interpretation. If the performer does not know how a piece is

constructed, and possesses little understanding of how it functions, he/she will

find it difficult to create a convincing performance of the music.

Rubato can be a difficult concept for inexperienced musicians to

understand, but is necessary because it is prevalent in unaccompanied music

much of the time. Students are frequently told to maintain a strict beat at a

13

steady tempo, but this will need to be modified in order to establish a sense of

rubato in the music. This is not to say that when one is playing rubato he/she

does not count or subdivide, but must instead "let go" of the strict time, and

allow the music to dictate when a phrase should move forward or pull back, or

which note should be stressed by holding it longer than the others. The

performer is playing musically by allowing the music, rather than the

metronome, dictate the pace. listening and following a score will help the

student understand what rubato is. By consciously observing how a performer

manipulates the tempo and rhythm of a musical phrase, the student will gain

insight into the workings of rubato. The author would like to suggest that the

student listen to the numerous recordings available of the Unaccompanied

Cello Suites, BMV 1007-1012, by J. S. Bach.

After the performer has made some progress in the piece and is

successfully executing the passages, it is often helpful to record one phrase or

section. When listening to his/her recording, the performer must step outside

of the role of a performer and attempt to listen subjectively. This exercise

often allows the performer to hear things differently. The performer should

then ask if the recording reflects the ideas he/she has attempted to convey in

the performance. Mter listening, it is easy to make adjustments.

By following these steps and approaching a piece of music in a logical

and organized fashion, the performer should make efficient use of time spent

in learning a piece. Time will not be wasted in an attempt to learn a piece that

is too difficult, or in trying to lea..-n the correct style of a piece without prior

listening exercises. Hopefully, the steps outlined above will facilitate the

process of choosing appropriate music for study and performance and

ultimately aid the student in learning an unaccompanied composition.

14

ANNOTATED BIBliOGRAPHY OF SELECTED

UNACCOMPANIED ALTO SAXOPHONE MUSIC

15

Instrumentation: Date of Composition: Publisher: Dedication: Duration: Grade Level:

Canto N

by Samuel Adler (1928)

SYNOPSIS

Solo Alto Saxophone 1971 Dorn Publications Donald Sinta 4'30" (three movements) 9

BIOGRAPHY

Samuel Adler was born on March 4, 1928 in Mannheim, Germany. He is

considered an American composer, having moved to this country at the age of

11 in 1939. He studied composition at Boston University (B.M., 1948) and

Harvard University (M.A., 1950) with Karl Geiringer, Walter Piston, Randall

Thompson and Paul Hindemith. He also studied with Aaron Copland and

independently with Herbert Fromm. He is currently Professor of Composition

at the Eastman School of Music in Rochester, N.Y. a position he has held since

1966.

The Canto N is part of a series of pieces each entitled Canto. Most of

these compositions are for solo unaccompanied instruments, including

trumpet, bass trombone, violin, saxophone, double bass, tuba, and piano.

COMPOSmON INFORMATION

The Canto N is technically very difficult, containing extended

techniques and difficult passage work. The extended techniques include

altissimo notes, flutter tonguing, multiphonics, and alternate fingerings for

16

quarter tones. It is a contemporary composition without measure lines,

conventional melodies and melodic motion. It also contains groups of notes in

patterns of S, 6, 7, 8,9 and 11 notes, which must be played with fluidity. The

melodic material is very disjunct, containing numerous wide intervals in a

variety of rhythmic patterns.

The publication reviewed by the author appears to be a photocopied

manuscript. The notation Mr. Adler uses for this composition is not always

clear. The specific note names and various musical markings (vibrato,

dynamics, etc.) are readable, but the composer's intentions are not always

apparent. The composer is ambiguous with much of bis notation, which often

leaves the interpretation of the music in question. This is surprising since he

has taken great care to indicate dynamics and vibrato much of the time. The

manner in which the music is published could lead to misunderstanding

and/or confusion of how the work should be accurately performed.

PERFORMANCE CONSIDERATIONS

The saxophonist must first carefully peruse the Canto IV and determine

if he/she is able to perform all the techniques involved in the composition.

The performer must possess mature technical facility in order to perform the

technical passages, which consist of large intervals at fast tempi. Musical

interpretation of these passages poses another problem because of the poor

notation. The intent of the composer is vague and one must use his/her best

. judgment to determine the proper method of playing some of the excerpts. It is

unrealistic that a group of 11 pitches is to be played within one beat;

therefore, one could assume that this large group of notes be played with

17

increased speed as it progresses within one and half beats or more. This,

possibly, is the case with many of the large groups of notes in the composition.

Mr. Adler has not indicated fingerings for the multiphonics he wishes

the saxophonist to perform; therefore, the performer must find the correct

fingerings for them. Mr. Adler supplies the pitches he wishes (third

movement), but does not provide a possible fingering for the chord. The

saxophonist must experiment with various multiphonic fingerings, consult

other pieces that include fmgerings, or consult a method book on

multiphonics to discover the correct fingering to use in the third movement.

For the inexperienced saxophonist, the trial and error method of finding the

correct multiphonic fingering may be very difficult, and this performer will

need to consult a method book on the subject.

It would sa:ve the saxophonist a great deal of effort if the composer

provided the fingerings initially. If the fingerings were provided, he would be

assured of the performer playing the correct multiphonic chord. Multiphonics

are not like altissimo notes, where certain fingerings may work better for

different players; multi phonic fingerings work equally well for most

saxophonists, and one fingering will suffice for most players. Therefore, it is

the author's opinion that fingerings should be provided.

There are other notational devices used in the Canto N that the

inexperienced performer will not understand. The indication for a pitch to be

played a quarter tone flat (second movement) is not explained by the

composer. A student new to contemporary music will not understand what this

marking indicates, and will be confused as to how to achieve the proper effect.

Another curious notation device is a jagged-line over the dotted half note E2. It

appears from other figures accompanying the jagged-line, that the pitch is to

18

be raised by three quarters of a tone. Once again, the inexperienced player

will not recognize this and confusion could be alleviated if definitions were

provided.

Mr. Adler has indicated tempi for each of the movements in the piece.

The first movement tempo is also accompanied with the words QJJite fast and

steady which indicates that the tempo should be steady throughout the

movement. It is almost impossible to do this and liberties must be taken with

the "steadiness" of the tempo. Certain phrases need to accelerate while others

will slow down and the performer must decide where this is appropriate. The

performer should look for clues to help in this regard, i.e., many times a

crescendo will accompany a phrase that should accelerate, or a group of

repeated notes should increase in speed.

The performer should be aware of the numerous large intervals in the

composition and the sudden dynamic contrasts. For example, in the second

movement there is an interval of Alto B-flat3 for which the saxophonist has

little time to prepare. An example of the dynamic contrast is sEto p to sub. fto

pp. The saxophonist will need excellent control over his/her technique to

execute these passages. There are many more technical and musical phrases

the student will need to study carefully in order to perform this composition.

ANALYSIS

The Canto N appears to be based on recurring motives within a

movement. Each movement is based either on a pitch group, or the use of one

or two central pitches. The first movement exhibits this motivic structure

readily. The opening pitches of C3 to D3 are the central pitches used in the

first movement. At the end of the first line, these same two pitches are seen

19

again with an additional note. When looking through the movement, one will

find these pitches presented in prominent places, appearing in different

octaves, and sometimes containing an octave displacement.

There are two other motives in the first movement. The first is a five

note pattern of a single repeated pitch, usually a C-sharp or a G-sharp. The

second is the continuous use of half step motion in a manner other than

chromatic. Most often the occurrence of half step motion is presented in a

manner that is very obvious to the listener instead of simple chromatic

passages, which are rare in this piece.

The second movement also seems to center around one or two pitches.

The pitches are B-flat and E-flat. These pitches reoccur often and are varied by

changing the pitch by a quarter tone. The third movement uses multiphonics

to create a central sonority for the movement. The pitches of this sonority are

heard both vertically and linearly throughout the movement.

CONCLUSIONS

Canto N is a very intricate composition. It is for the advanced

saxophonist and musician who has had much experience performing

contemporary music. It is demanding both musically and technically and

much time must be devoted to its preparation for performance. Unfortunately,

the composition is flawed because it is difficult to read, and vague in its

instructions. This could easily have been avoided if the composer induded

descriptions and definitions of his notation, and the publisher could have

made a better effort to produce a clear, legible, and comprehensible

publication. In spite of these flaws, the music is of high quality and 'the

20

performer would find it both beneficial and worthwhile to study and perform

Canto IV.

21

Instrumentation: Date of Composition: Publisher: Dedication: Duration: Grade Level:

Caprice en forme de valse

by Paul Bonneau (1918)

SYNOPSIS

Solo Saxophone 1950 Alphonse Leduc Marcel Mule 4' 8

BIOGRAPHY

Paul Bonneau is a French composer and conductor who studied with

Henri Busser. From 1932-1945, he attended the National Conservatory of Music,

Paris. He has been the conductor of various musical groups and has written

over 50 film scores, pieces for orchestra, operettas, and songs. His music for

alto saxophone include, a Concerto (1944), Suite (1944), and Piece Concertante

dans l'Esprit Jazz (1944).

COMPOSmON INFORMATION

The Caprice en forme de valse has been one of the most popular

unaccompanied saxophone compositions for a long time, being published in

1950. It has been performed on all the members of the saxophone family and is

well suited to any of them. It is a typical French piece in that it contains much

chromaticism and a considerable number of difficult technical passages,

which are so common in French compositions.

22

PERFORMANCE CONSIDERATIONS

The main consideration the performer must examine, before

performing this piece, is its technical difficulty. The notation is traditional,

but there are many accidentals, double-sharps, and displacements of the beat.

There are also lengthy technical runs that will require much attention. These

runs are mostly diatonic, and if the saxophonist is comfortable with his/her

scales they do not pose a large problem. These scales include C major, B-flat

major, and C-sharp major. The other technical problem with these runs is that

they need to be executed very quickly. For example, at a the tempo of moderato,

a group of nine notes must be played within one eighth-note (there are also

groups of 5-,6-, 7- and 8-note passages). So, the moderato tempo marking does

not necessarily imply ease, because the illusion of the presto is maintained by

the composer with rapid passages.

The piece is written in 3/8, which must be counted in one to

accommodate the Presto tempo marking given by the composer. In the Valse

section of the piece, the music is completely saturated with grace notes. The

tempo at this point is rubato in contrast to the beginning presto, but the grace

notes are arpeggiated much like the opening theme. Following this are

sections of the long technical passages described above. In the final section of

the piece, Bonneau returns to his opening motivic ideas, but he varies them.

ANALYSIS

The piece is certainly grounded in tonality, but Bonneau does not follow

traditional harmonic practices. At the beginning of the composition the main

motivic idea is presented. This motive returns four more times during the

23

piece to remind the listener of the main motivic material. It thus serves as a

unifying device. It must be noted that this motive returns at various pitch

levels in the piece. The original statement begins on a G-sharp, the next two

statements begin on F-sharp and E respectively. The final statement of the

motive is given twelve measures from the end of the piece, but the first note

missing from the original motive, and it is an octave lower. Absence of the

first note occurs either because the composer wished to vary the motive, or

because he wanted it an octave lower and the range of the saxophone does not

go this low, necessitating the omission.

Structurally, the Caprice en forme de valse is divided into four sections.

The first section presents the main motivic ideas. The second section

introduces the Valse material, which is remotely related to the opening motive.

The third section is best described as development section developing the main

motives, and the fmal section is a coda. The coda section presents the main

motives first and finally leads to a conclusion of the piece.

CONCLUSIONS

The Caprice en forme de valse is an enjoyable piece to perform and to

llsten to. The listener is never lost within endless variations and development.

The main motives are stated often enough to sustain the listener's attention,

and are always varied to keep interest. Within all sections of the work it easy to

see and hear the variations. Needless to say to the saxophonist, this is

technically a very difficult piece. If the performer has advanced technical

facility and experience in preparing cadenzas, the author believes that this is

a good piece to begin the study of unaccompanied literature. It maintains a

24

steady pulse throughout, which will aid the performer, and is very cadenza-

like in the development section.

Musically and pedagogically the Caprire en forme de valse is an

important part of the saxophone repertoire. It should be a part of evety

saxophonist's repertoire and is a legitimate inclusion in recitals. It can also be

used in master class settings and other appropriate solo performances. If

performed technically well, it will flatter the performer musically and

technically.

25

Instrumentation: Date of Composition: Publisher: Duration: Grade Level:

Douze Esquisses

by Guy Lacour (I932)

SYNOPSIS

Solo Alto or Tenor Saxophone 1987 Billaudot 12 pieces, 2-3 minutes each 6-8

BIOGRAPHY

Guy Lacour is a French composer and saxophonist. He studied with

Marcel Mule and in 1952 won the First Prize in his class. In 1961 he was invited

by Marcel Mule to play tenor saxophone in the famous Mule Saxophone

QjIartet. He resided with this quartet until it disbanded in 1966. Mr. Lacour has

composed many pieces and etude books for the saxophone, induding: Huit

Etudes Brillantes (1963), Quatuor (1969) for saxophone quartet, Hommage a Jacques [bert (I972) for alto saxophone and orchestra/piano, Divertissement

(1968) for alto saxophone and percussion, and Etude de Concert for solo

saxophone.

COMPOSITION INFORMATION

The Douze Esquisses dans Ie style contemporain is, literally, twelve

sketches in a contemporary style. The twelve pieces/etudes in this compilation

are deSigned to expose the saxophonist to contemporary music and techniques.

They all contain extended techniques: multiphonics, altissimo, etc., and are

written using contemporary notation, which does not contain measure lines,

26

and is very graphic in nature. They are very much like the Paradigms I by

Ronald Caravan and the reader should refer to those for an idea about the style

of this collection. Unlike the Caravan studies, Lacour's collection is not

organized in a graded fashion, but the etudes do become technically more

difficult as they progress.

The notation used for Douze Esquisses is what is described as graphic

notation. Many of the notation marks are graphic signs rather than

traditional note indications, along with dynamic and articulation markings.

Mr. Lacour provides three pages of explanations about his notations and his

fingerings at the beginning of this collection. The explanations and

definitions are helpful, but unfortunately they are in French. One must have a

French dictionary or translator to decipher the explanations because not all

the markings are as obvious as one might think. For example, Mr. Lacour

utilizes three types of fermatas, and the saxophonist will need a French

dictionary in order to define each of them and understand their value.

Most of the notation devices will be familiar to the performer with

experience reading contemporary notation, but even so, one will need to refer

back to the defmitions from time to time. As is the case with every composer,

the notation chosen to denote a certain sound or action is slightly different

from other composers. This includes: fingering charts, quarter-tone notation,

and multi phonic notation. It is unfortunate that composers cannot agree on

the same notation for certain effects. It is true that some of the notations have

become standardized, but it is cumbersome for the performer to have to learn

2, 3, and sometimes 4 different symbols for the same compositional device.

27

PERFORMANCE CONSIDERATIONS

The Douze Esquisses fulfills two purposes for the saxophonist. First, it is

a collection of etudes in a contemporary setting that will help the saxophonist

learn the techniques associated with contemporary music. Second, it provides

the saxophonist with a number of short compositions appropriate for

inclusion in recitals. This makes the collection a valuable asset to the

saxophonist. The easier pieces can be studied so that the saxophonist can

become familiar with the notation and the construction of contemporary

music, while the more difficult pieces can be studied and then included in

recitals.

The overall pace set for each piece should be a primary consideration of

the performer. The composer has provided a tempo marking and the duration

of the piece for each work in the collection. The performer should take into

account both of these markings and attempt to follow them as closely as

possible. If the pace is too slow, the compositions will tend to drag and become

musically uninteresting. The same is true in the case of a rushed tempo; in

both cases, the composer's intent is not served.

The most predominant compositional device used throughout the Douze

Esquisses is multiphonics. They are present in every piece in the collection.

The saxophonist must be adept at producing multi phonic chords because they

occur constantly, and appear in various guises, each presenting its own

technical problems. As stated above, the production of them is not difficult, but

if the saxophonist is having trouble with them, he/she should concentrate on

overtones. Many of the techniques used in achieving the overtone series, such

as air stream manipulation, and oral cavity formation, will aid in the

28

successful performance of multiphonics. The student should consult Voicing

(1992) by Donald J. Sinta and Denise C. Dabney, a new text on developing the

saxophones altissimo register, for further help with overtones.

Mr. Lacour notates his multi phonics differently than other composers.

Instead of notating each pitch in the chord, he chooses to notate a rectangle

on the staff which also indicates the duration of the chord. If the chord has

the duration of one beat, it will be filled-in with a stem, if its duration is four

beats, it will be left open, and so on. The benefit in this is that the chord tones

are often not important, rather, it is an effect the composer is trying to

establish. However, there are instances when the chord tones do make a

difference as in Mai~ by Ryo Noda. In this piece the pitches of the chord need

to be notated because the melodic motion is important within the chord. To

make certain that this occurs, he notates the chord tones. In the case of the

Douze Esquisses, the chord tones are not as important as the effect they create

in the music, and Mr. Lacour notates them accordingly.

Another difference in Mr. Lacour's multi phonic notation is his system

of designating the fingerings for them. Very often Mr. Lacour will not provide

the complete fingering for a multi phonic chord when it appears. Instead,

when circumstances allow he will merely put a + or - sign to denote the

addition or subtraction of a certain finger. There is an example of this on page

11 of the collection, in line 3. This technique is less confusing and easier to

read for the performer.

Mr. Lacour uses quarter step movement in many of the pieces. Quarter

steps are achieved through unconventional fingerings that alter the pitch

and change the tone color. The performer must listen carefully to the pitch

when playing quarter steps, making sure the intonation is accurate and the

29

transition between notes is smooth. If a quarter step is not derived from the

fingering suggested by the composer, the saxophonist should vary the

fingering in an attempt to produce a quarter step. There is an example of

quarter step movement in the first piece of Douze Esquisses. The opening

begins souffle (breath tone) and progresses to the true tone of Bl, then moves

down a quarter step (via an alternate fingering), and then another quarter

step to B-flat1. The performer must make sure the movement is smooth and

accurate.

There are other elements in these pieces that create much variety and

are musically very interesting. Especially noteworthy are examples of

improvisation which occur in many of the pieces. Mr. Lacour will often

present a series of notes with wavy lines over them so the performer can alter

the rhythm. Or, provide boxes with notes that are to be repeated in various

orders and rhythms. These improvisational tools add much interest to the

music.

ANALYSIS

The pieces in this collection present a variety of contemporary

techniques in a short time frame, but not in any particular form. Each appears

to have a climactic point, the performer should strive to make musical sense of

the phrasing and give each piece direction.

Number 6 of the Douze Esquisses, is organized as chance music. It

contains twelve boxes, each containing a musical phrase. The performer is to

play each box as he/she notices them during the performance. There are no

other directions for the performer other than those stated above. The

performer is entirely responsible for the form and the outcome of the piece.

30

In this instance, it may be advisable to define some parameters for the

performance, such as the length, how many times each phrase/box will be

played, which phrase is the most climatic, etc., before embarking on a

performance of it.

The pieces contained in this collection are not organized around a tonal

center. Rather, they are organized according to motivic material and the order

it is presented in the piece. Because the pieces are shon, there is not time for a

lengthy development of the motivic material.

CONCLUSIONS

The Douze Esquisses would be appropriate for college level students who

have a good grasp of the fundamental techniques of the saxophone and are

musically mature enough to study them. They offer the student a variety of

musical and technical challenges. They also offer solid insight into the style

and characteristics of contemporary music. A student could study them as

etude material or perform one or two in a recital, as they are appropriate for

both uses.

31

Instrumentation: Date of Composition: Publisher: Dedication: Duration: Grade Level:

Evocations

by Henri Tomasi (1901-1971)

SYNOPSIS

Solo Alto Saxophone 1969 Alphonse Leduc Daniel Deffayet 9'15" (four movements) 7

BIOGRAPHY

Henri Tomasi studied at the Paris Conservatory with Paul Vidal and

Vincent d'Indy. He won the Second Grand Prix de Rome (1927), and the Grand

Prix de Musique Franf;aise (1952). He wrote in many genres, induding opera,

ballet, orchestral, chamber music, as well as concertos for solo instruments.

Other alto saxophone compositions by Tomasi are: Chant Corse (1932), BalJade

(1939), Concerto (1949), and Introduction et Danse (1949). These compositions

are often perfonned and are considered distinctive compositions of the

saxophone repertoire.

COMPOSITION INFORMATION

Evocations is a four movement composition and is programmatic in

nature. The movements are entitled: Peruvienne, Nigerienne, Cam bodgienne,

and Ecossaise. Each is suppose to evoke a certain musical mood from the

country it represents. The movements are all short, between two and three

minutes in duration.

32

The first movement, Peruvienne, is in the key of C major and has a

range from Cl to F3. It is in a very slow tempo and is suppose to sound similar

to a drum. Nigerienne also has the key signature of C major, although it is not

in this key, and has a range from Dl to E3. This movement is much faster than

the first and is heavily accented. Cambodgienne is the key of G-flat with a

range of D-flat1 to F3. It beginS and ends in a slow tempo, but has a middle

section in the character of a dance. The final movement, Ecossaise, returns to

an easier key, F major, and has a range of Cl to F3. This movement, too, begins

slowly, but changes to a fast tempo with staccato triplets.

PERFORMANCE CONSIDERATIONS

The movements of this piece are all composed to create a certain

character and it is the performer's responsibility to establish this character.

The general character of a movement is partly denoted by its title, but there

are also some other specific references that the composer is attempting to

portray. The first movement begins with the designation for the performer to

play in the fashion of a drum, comme un tambour lointain. This character does

not remain for the entire movement, but it does return. The third movement

asks the performer to play in the style of a xylophone, comme les zylophones,

during the B section.

All the movements are measured, but the slow sections need to be played

with a sense of rubato. There are many such designations throughout the

composition: mysterieux, malta espressivo, Assai robato, appass. robato, and

others. It is only during the fast sections of the piece that strict tempi and

rhythms are to be maintained. For the most part, the performer can be very

free in his/her interpretation of the piece.

33

Mr. Tomasi uses slur marks in Evocations to indicate both slurred

phrases and when indicating a phrase. The performer must be aware of this so

phrases are executed correctly. Most of the time it is obvious which phrases

are slurred and which are not and the saxophonist will not have any difficulty

delineating between the two if he/she uses common sense. For example, in the

first movement the final line has three phrase markings, two of these should

be articulated while the last should be slurred. The phrase will most likely be

articulated when various notes in the phrase have accents or staccatos over

them, as is the case in this example.

There are some technical problems that deserve mention. The opening

phrase of the piece is to be played pp and staccato on a Dl, a difficult task on a

low pitch, which will require some extra work for some performers. The fifth

measure of the first movement contains a small phrase mark after the Al that

does not lead to another note. This merely means to let the note linger, or

"ring". The second movement requires the saxophonist to accent four beats of

G-sharp l forte while crescendoing. The key of G-flat major will of course be

difficult in the third movement. Even more difficult in the third movement

will be the numerous octave leaps at the tempo of 120 to the quarter note. The

fourth movement also has a brisk tempo and some octave leaps.

ANALYSIS

The overall form of the piece follows a general design of Slow-Fast-

Slow-Fast. Each movement is tonally organized, but only in the third and

fourth movements can one key be positively identified. Surprisingly, this

French piece does not contain a large amount of chromaticism .. Thematically,

the movements are based on their own particular motives, and do not share

------- - ~-~--- --- -~

34

motives between the movements. Structurally, only the second and third

movements follow easily identifiable forms of ABA', and ABA respectively.

CONCLUSIONS

Evocations is substantial enough for inclusion in a recital program in

its entirety or in part. Any of the movements can easily stand alone as study

pieces and for performance for master classes. They are short, and would be

best performed in pairs if the work is not performed as a whole. Any college

level saxophonist could easily perform the entire composition, and a high

school student could perform most of the movements without too many

complications. The exception would be the fourth movement because of its fast

tempo and numerous articulations. Any saxophonist would thoroughly enjoy

studying this composition, and an audience will enjoy the music and its

nationalistic variety.

---- ~--~~ - ------- .-

3S

Instrumentation: Date of Composition: Publisher: Dedication: Duration: Grade Level:

Improvisation et Caprice

by Eugene Bozza (1905-1991)

SYNOPSIS

Solo Saxophone 1952 Alphonse Leduc Marcel Mule 3' 7

BIOGRAPHY

Eugene Bozza was born on April 4, 1905 in Nice, France. He was a French

composer and conductor who studied composition with Henri Busser at the

Paris Conservatory and in 1934 won the Grand Prix de Rome. He has also won

the Premier Prix as a violinist in 1924, and as a conductor in 1930. He has

composed many works for the saxophone including an Aria (1936) for alto

saxophone and, Nuages (1946), and Andante et Scherzo (1938) for saxophone

quartet.

COMPOSITION INFORMATION

Improvisation et Caprice is similar to the Piece Breve by Eugene Bozza

in that much of the material in the composition comes from an earlier

composition by Bozza himself. The Improvisation portion of the Improvisation

et Caprice is an exact transposition of the cadenza from the composition Image

for solo flute (1940). The Caprice is derived from the main motive of Nuages

(1946) a composition for saxophone quartet. Whereas this motive is passed

36

around from voice to voice in Nuages, it is ever-present in the solo saxophone

voice in the Caprice.

The range of the Improvisation et Caprice is B-flat to F3. The B-flats are

to be played at a mezzo-forte dynamic level and are not too difficult. The key of

the Improvisation is in B and will present some problems. The Caprice's tempo

marking is designated at Allegro moderato. This does not sound too ominous,

but continuous groups of sextuplets at this tempo will seem much faster and

will be technically difficult.

PERFORMANCE CONSIDERATIONS

The opening Improvisation is in the key of B major, presenting some

technical problems for the saxophonist. The tempo indicated is Moderato (a

Piacere) ; therefore, the saxophonist will not have to overcome a fast tempo to

master the movement. As with the Piece Breve, the performer is directed by

the composer to play avec Ie caractere d'une improvisation. It is left to the

performer to establish the rubato and interpret the phrasing of the music.

This is a challenge indeed for the younger musician.

The second movement is very rhythmic and technically difficult. It is

entirely composed of continuous sextuplets. The sextuplets consists of

chromatic scale passages and arpeggios. The first half of the sextuplet motive

alternates between two notes, and the second half alternates between two

other notes. These notes are continually varied throughout the movement with

each occurrence of the motive.

Mr. Bozza has provided places to breathe, but he has also put slur marks

over these places. This indicates that the line should feel like it is continuing

even though there is a short break. The saxophonist should take care not to

37

end the final note of such a phrase abruptly or make it sound final because

this will make interrupt the continuous flow Bozza is trying to achieve.

The saxophonist should carefully consider the appropriate fingerings

for the passages. Many times an alternate fingering is the best for technical

reasons, even though it may not have the best tone quality or be perfectly in

tune. This will not matter, however, because at the tempo indicated the tone

will be heard only briefly and won 't be discernible to the listener. It is more

important that a comfortable fingering be found to correctly execute the

technical passages smoothly and accurately.

ANALYSIS

The first movement is composed in ABA. The A section presents two

motives. The first is a falling pattern of five notes, and the second is a triplet

grouping. The triplet grouping of the second motive may be a premonition of

the sextuplet motive of the second movement, but in the first movement the

intervals in the pattern are usually very wide, unlike the chromatic intervals

of the second movement's sextuplets.

The A sections are exactly the same except for a small change to

accommodate the last two measures. Even though the movement is composed in

the key of B major, the last pitch is an A-sharp (enharmonic B-flat), a half

step away from the original key. The B section of the movement focuses

primarily on variations of the triplet motive stated in the second measure of

the piece.

The second movement begins and ends in the key of E minor, but

typical chord progressions are difficult to find in this highly chromatic

movement. Formally, it relies on the sextuplet motive and variations of it from

38

beginning to end. The first statement of the motive is not found in its original

form anywhere in the movement.

CONCLUSIONS

The Improvisation et Caprice is a delightful little piece to perform as an

encore or the final work in a recital program. It is flattering to the performer

because it sounds more difficult than it is, and will highlight the performer

who can play it well. It has many of the characteristics associated with French

music, so one must be careful not to program it next to other French pieces

which are similar, such as the Bonneau Caprice en forme de valse.

39

Instrumentation: Date of Composition: Publisher: Dedication: Duration: Grade Level:

Mal

by Ryo Noda (1948)

SYNOPSIS

Solo Alto Saxophone 1975;copyrigh~ 1978 Alphonse Leduc "A rna femme" 8' maximum 8

BIOGRAPHY

Ryo Noda is a japanese saxophonist and composer described by Harry

Gee in his book Sayophone Soloists and Their Music 1844-1985 as

" ... particularly brilliant in his avant-garde improvisations and inventive

techniques for the saxophone" (Gee, 1986, p. 249). He goes on to say, "Many of

these compositions have already achieved a permanent position in the

standard repertoire of concert saxophonists" (Gee, 1986, p. 250).

Noda studied at Osaka College of Music with Arata Sakaguchi,

Northwestern University with Frederick Hemke, and the CNRM with jean-

Marie Londeix. He has been a soloist in many parts of the world. His

compositions are primarily for solo saxophone, and for small saxophone

ensembles with varying instrumentation. Other works include: Requiem

(Shin-en), (1979) for Solo Tenor Saxophone, and Sketch (1973) for Saxophone

QJ,1artet.

COMPOsmON INFORMATION

Mai'is a contemporary composition written in a japanese character.

This is evident from the pitch bending, which is characteristic of the koto, a

40

Japanese zither with 13 silk strings, or the shakuhachi, a bamboo wind

instrument (flute) with five finger holes. The koto is sounded by plucking the

strings with picks on the right hand, and pressing down on the strings with

the fingers of the left hand. When the string is plucked, the sound is

sometimes nasal and the pitch is sometimes bent, thus creating its distinctive

tone. Often, the string is plucked very hard creating the "Japanese tone" Mr.

Noda has indicated in the piece. The koto is sometimes played with vibrato, but

more often it is not. The saxophonist should have an excellent idea of the sound

Mr. Noda wants for this piece upon listening to a koto.

The shakuhachi, like the koto, produces a characteristic Japanese sound.

It has four finger holes on the front and one on the back of the instrument

and has a three octave range. The performance style for this instrument

includes many pitch bends and wide octave leaps such as these used in Mai~

The author suggests listening to recordings of the shakuhachi, as well as the

koto, to aid in interpretation.

The composition is unmeasured throughout, but the notation is mostly

traditional with some contemporary notation that is defined by the composer

on a separate page. Some of the distinctive markings are indications for a

quarter tone sharp and a quarter tone flat. Tempo markings are indicated, but

there is not a steady beat in the composition. The range of the piece is Dl to E~

flat4. The altissimo notes in the piece are optional.

There are some extended techniques required of the performer. The

techniques used are, multiphonics, pitch bending, altissimo, a cutting tone

("Japanese style"), and portamento. Other techniques that should be of

concern, but are not necessarily extended, are: rapid trills, large interval

leaps, and alternate fingerings to achieve pitch bending.

--------- - ---- -~-- --

41

PERFORMANCE CONSIDERATIONS

The performer must consider the extended techniques before he/she

can perform this composition. The altissimo notes may be performed down an

octave, alleviating one problem. However, one must consider if this is

musically appropriate. It is possible, but some of the intensity of the closing

measures will be lost if the performer chooses to do so.

42

Multiphonics are not overly difficult to play, and this is the case with

those chosen by Mr. Noda. The greatest difficulty the saxophonist will have

with the multiphonics in this piece is with the unfamiliar fingerings, as they

occur in qUick succession. Once the saxophonist is comfortable with the

multiphonics, he/she will find that the unfamiliar fingerings are not

extremely difficult to learn. When playing multi phonics, the saxophonist must

remember to keep the embouchure relaxed and blow into the note, which

allows the reed to vibrate freely creating more than one pitch. If the

saxophonist is having difficulty producing the rnultiphonics, he/she should

spend time working on overtones. Those techniques used in correctly

producing overtones will aid the saxophonist in producing the multiphonics. A

stable embouchure position is also important when playing at extreme

dynamic levels as is indicated in this piece. The final chord must be played ffff

with vibrato; control of the embouchure at this point is very important to

maintain the multiphonic chord. For more help consult Voicing (1992) by

Donald J. Sinta and Denise C. Dabney.

The pitch bends should be played with a combination of the

embouchure, and slow movement of the fingers from one pitch to the next.

Another method to achieve a pitch bend is by using alternate fingerings to

lower the pitch of a note. The performer will slowly raise the fingers to the

correct fingering thus creating the true pitch. An example of this is when an

F2 is to be played a quarter tone lower and bend up to an F-natural2. One way to

do this would be to finger F-natural2 normally and add the third finger of the

right hand to lower the pitch by a quarter of a step. The performer will slowly

lift the third fmger to bend the pitch up to F-natural2. This takes some

practice by the performer to control the finger(s) involved and the air speed,

but when properly executed the correct effect will be achieved.

Trills are difficult in this piece because they require awkward

fingerings, and continue steadily over long periods of time. Many of these

involve the use of palm keys and side keys when trilling from a B-natural1

and a B-flat1. Fingerings cannot be suggested because each instrument is

different and different fingerings will produce different pitches. However,

many of the fingerings can be achieved by using one, sometimes two, side-

keys, and sometimes a palm-key in various combinations.

43

The B section of Mal is technically very difficult. There is a rapid

succession of several pitch patterns that must be very soft, at a rapid tempo,

and without the perception of a strong beat within the pattern. The only time a

strong beat should be audible is when the pattern changes. The effect is one of

strumming, as may be done on the koto. As the B section comes to a conclusion,

the music becomes more intense by an increased dynamic level, and by

increasing the number of pitches within a given beat from three, to four, to

five. It is very difficult to maintain the tempo when the performer reaches the

groups of five, but there is way that this can be achieved. The notes at this

point are an A2 and a 03; the A2 is trilled to a B-flat2 for the first four notes of

the pattern, and the 0 3 is accented 011 the fifth portion of the pattern.

Throughout the pattern, the saxophonist can play a continuous trill using the

side B-flat2 fingering, even when playing the D3 because the trill will not

effect the n3. This makes the execution of the pattern much easier.

ANALYSIS

The form of Mal is A-B-A', and it is centered around the pitch B-natural.

The outer sections are slower paced and comprised primarily of pitch bending.

The B section is faster, with a mysterious character designated by the

composer, and resembles strumming. It is also more driving and culminates

with the ffff multi phonic chord that is the climax of the piece. The A' section

begins a perfect fourth lower than the opening statement and continues a

perfect fourth lower for most of this restatement, but it ends on a B-natural2,

the same pitch on which the work begins.

There are two motives or compositional techniques that Mr. Noda relies

upon for most of the piece; they are pitch bending, and trills. The opening

melodic statement is reiterated in the A' section almost verbatim, but there are

no other statements of this opening section. The trills are present in most

portions of the piece as are the pitch bends. The rapid alternation, or pitch

patterns, that comprise the B section are a variation of the trills, and there are

trills present in the B section that are a restatement from the A section. The

pitch bends are in both A sections and are used as transition material between

different portions of the piece.

CONCLUSIONS

Mal is a refreshing piece to hear and perform because of its Japanese

flavor. It is so unlike the traditional saxophone repertoire that we have been

44

performing for so long. This composition would a be great addition to any

recital program. It is technically challenging and contains techniques not

found in most of the unaccompanied saxophone repertoire.

4S

Instrumentation: Date of Composition: Publisher: Dedication: Duration: Grade Level:

Monoiog Nr. 4

by Erland von Koch (1910)

SYNOPSIS

Solo Saxophone 1975; published, 1977 Carl Gehrmans Sigurd and Carina Rascher 5' 30" (two movements) 4

BIOGRAPHY

Erland von Koch is a Swedish composer, teacher, and conductor. He has

studied music at the Stockholm Conservatory (1931-1935), and composition with

Paul Hoffer in Germany. He has taught at Wohlfart's Music School, Stockholm,

and at the Stockholm Musikhogskolan as Professor of Harmony. He has also

worked as a sound technician with Swedish radio. From 1947-1963 he was an

executive member of the Swedish Composers' Association. Mr. von Koch has

many other compositions for various saxophone instrumentations: Vision

(1950), Concerto (1958), Dialog (1975) and Cantelina (1978) are some of his

compositions.

COMPOSITION INFORMATION

Monolog Nr. 4 is dedicated to the prominent saxophonists Sigurd

Rascher and his daughter Carina Rascher. Mr. Rascher was an early advocate

of the saxophone, and was an extraordinary saxophone performer and

educator. He developed his technique to include a three and a one half octave

range which inspired many composers to compose music in this extended

46

range. In 1969 he formed the Rascher Saxophone Quartet, which included his

daughter Carina.

Monolog Nr. 4 is part of a series of compositions each entitled Monolog.

There are currently 18 of these compositions each for a solo instrument.

Monolog Nr. 4 is a two movement composition. The first movement, aIidante

espressivo, is slow and lyrical without measure lines. The second movement,

allegro molto vivace, is much more strict rhythmically and contains measure

lines. The first movement is to be played rubato and contains such headings as:

a pia cere, can fantasia, and ad. lib. The range of the movement is broad, B-flat

to F3, but the melodies are primarily in a comfortable range of the saxophone.

The second movement is very conventional. The first tempo is maintained

until the final Andante poco sostenuto and Presto, and there are only minor

character changes throughout the movement to cantabile, and dolce

espressivo. The range of the second movement is B-flat to E-flat3, but this once

again is deceiving because there is only one B-flat and two E-flat3s in the

movement. The melodies are primarily in the middle registers.

PERFORMANCE CONSIDERATIONS

The first movement requires the performer to play with much freedom

as is indicated by the markings provided and the absence of measure lines. The

performer should think of the movement in terms of phrases (as he/she

should in any piece of music), and Mr. von Koch attempts to encourage this by

eliminating the measure lines. The counting would be very awkward if the

movement were composed with measure lines, and the performer would

unnecessarily concern himself with bar lines. This might lead to much

confusion on the performer's part, perhaps detracting from the music.

47

It is very strange that the composer (publisher) decided to include a 3/4

meter sign in the fourth line of the first movement. It doesn't make sense to

forgo measure lines entirely, and then insert a time signature, especially

when there isn't an apparent strong down beat anywhere in the phrases

immediately following its appearance. The author's suggestion is to ignore it

completely.

The second movement, even though fast, is not technically difficult. The

only portion of the piece that would require some special attention (for the

younger player) would be the ending Presto and Prestissimo. Even this is not

extremely difficult, because it is comprised of chromatic scales and sequences.

The performer should pay close attention to the character changes of

the thematic material. Special care should be taken to make them as different

as possible so they contrast. The thematic material is very similar and if it isn't

varied somehow, it will all sound the same.

ANALYSIS

The composition is based on thematic material that is repeated at various

pitch levels, inverted, restated with small variations, or a combination of all

these things. In the first movement, the opening theme, A, is stated and then

immediately repeated a major second higher. When A reappears later in the

movement, it is stated as an exact inversion of the initial appearance of A. The

first movement also contains a B theme and a C theme. The B theme is varied

just as the A theme, but the C theme is stated the same in each of its three

appearances in the movement.

The second movement is organized using the same ideas as the first

movement. It is also related to the first movement in that the first three beats

48

of the second movement are stated with the same intervals and the same

rhythm as the A theme of the first movement. The A theme of the first

movement is completely restated in the second movement at the Andante poco

sostenuto. It appears here at a different pitch level, but it is in the tempo of the

first movement and is only slightly varied.

CONCLUSIONS

The Monolog Nr. 4 is appropriate for younger players because it is not

technically or musically difficult. The piece as a whole suffers because it tends

to sound the same all the time. This is because of the compositional devices

employed by the composer. The entire composition is based on one

thematic/rhythmic idea. This could be successful, but it doesn't develop

enough, and is not varied enough to sustain interest for the duration of the

piece. A high school student may study the piece, but time may be better spent

on other pieces that are more rewarding musically, and more satisfying to an

audience.

49

Instrumentation: Date of Composition: Publisher: Duration: Grade Level:

Monologue

by Ronald Caravan (1946)

SYNOPSIS

Solo Alto Saxophone 1975; copyright, 1979 Ethos 5' 8

BIOGRAPHY

Ronald Caravan received a BS degree from the State University of New

York-Fredonia (1968), and an MA and DMA degree from the Eastman School of

Music (1972, 1978). He studied with William Willet and Sigurd Rascher. He has

been editor for The Saxophone Symposium, and is currently soprano

saxophonist with the Aeolian Saxophone Quartet and the Saxophone Sinfonia,

and instructor of saxophone at Syracuse University, New York. Caravan has

composed many technique books and pieces for the saxophone, such as:

Preliminary Exercises and Etudes in Contemporary Techniques (1980), and

Sketch (1973), for solo alto saxophone. His compositions are primarily for

saxophone and clarinet.

COMPOSITION INFORMATION

Monologue is a contemporary composition employing many extended

techniques for the saxophone. The composition is similar to Mr. Caravan's

work Paradigms I, but is much more difficult and uses a wider variety of

techniques. The following description is taken from the "Notes to the

so

Performer" section at the beginning of the piece: "Monologue for Alto

Saxophone Solo is a single-movement, unaccompanied work encompassing a

wide range of pitch, dynamic, and sound-color materials. Utilizing

conventional tone production within a three-and-a-half octave range,

Monologue also involves the use of quarter-tone intervals, multiple sonorities,

and variations in timbre through the use of alternate fingerings." The range

of the composition is from B-flat to F4, which is extremely wide, containing

many altissimo notes.

Designations for various notation devices are given by the composer at

the beginning of the work. The notes do not include a fingering chart, but the

fingerings are usually obvious and the composer gives some help by stating "a

frontal view of the instrument is assumed." The notes explain to the performer

most of what he/she will need to know before studying the piece, and are very

helpful.

PERFORMANCE CONSIDERATIONS

This composition is for the professional saxophonist or the very

experienced and capable graduate student or upperclassman. Any saxophonist

considering playing the composition should look over the piece closely before

embarking on the study of it. The performer must first examine the various

techniques used in the composition, such as the multiphonics and altissimo,

and the context in which these techniques are placed. The multi phonics occur

at a fairly rapid tempo, 92 to the quarter note, and possess many high pitches

within the multiphonic, which are a little more difficult to produce than the

lower pitches. On the second page of the composition, there are many

progressions of multi phonic chords. The highest pitch in two of these chords

51

is a G-sharp3, while the lowest pitch is a C-flat2. These are rather high pitches

in a multiphonic chord and care must be taken to produce these pitches

correctly. It is important to do so because the upper notes, and the chords in

general, are part of the motive that is being varied at this point; if the pitches

are not heard, neither is the motive.

The altissimo notes present a variety of problems. Some of them may be

difficult to produce because they are at the end of a fast technical passage. The

saxophonist must use a fingering that will enable him/her to easily progress

into the altissimo register, thus achieving a smooth transition into that

register. This situation occurs often, and the performer should take care to

find the easiest fingerings possible to produce the desired pitches.

The wide leaps into the altissimo register require advanced technique.

The composer has written the following passage of leaps at the tempo of 92 to

the quarter note, and ffff: E4 (half note), B-flat (half note), E4, (quarter note),

B-flat (half note), E4, (dotted half note). Immediately following this passage,

after a short fermata, there is an E4 to F4 beginning at ppp and crescendoing

to mp. The use of extreme dynamics in the outermost registers of the

saxophone challenges even the advanced player, and will require a controlled

and polished technique by the performer. There are also other dramatic

dynamic changes in the piece: the opening of the piece begins with a pppp,

and progresses to a climax of ffff in the final measures. Besides this extended

dynamic contrast, there are also sudden changes in the form of subito ppps.

ANALYSIS

The form of Monologue is ABA'. The large sections are delineated

primarily by tempo changes; the A sections are at 60 beats to the quarter note,

52

while the B section is at 92 beats to the quarter note. The general characters of

these sections are also different; however, there are occurrences of the

composition's main motive in both the A and B sections. The piece begins and

ends on the same pitch, but it is not clear whether this note is the central

pitch of the work.

The A sections are composed at a generally softer dynamic level than

the B section. The principal compositional technique in this section is the

variation of a pitch through tone color. There are short occurrences of

multiphonics, and two statements of the main motive via octave displacement.

The main motive is a five note progreSSion of A, B-flat, A-flat, E, and G. It

appears in the fIrst line of the piece and is continually varied, never

reappearing in its original form.

The A' section contains most of the melodic material that appeared in

the first A section in retrograde. Most of the pitches are in exact reverse order

from the original A section, but the beginning of the A' section is slightly

different, and there are fewer multi phonic chords. The main motive is also

composed in this retrograde fashion. The ending of the piece concludes with

the same pitch with which it began.

S3

The B section presents most of the motivic variations in the piece. The

motive does not appear in the same pitch and rhythm sequence, but is

presented as a general contour of pitches with similar rhythmic movement. It

is difficult to hear the motive, because none of the statements is ever repeated

in the same manner with identical pitches and rhythm. Sometimes the motive

is written as a single line melody, and other times it is presented in the highest

pitches of a multi phonic chord progression. It is obvious that this is the

motive, but it remains elusive because it is never clearly stated in its original

form.

CONCLUSIONS

Monologue is certainly a contemporary composition of worth in the

saxophone repertoire. The saxophonist will find that his/her technique is

challenged to the extremes and will feel a true sense of satisfaction upon

performing this composition. It would most certainly be appropriate for most

performance situations.

This composition has an articulate form and motivic variations. The

performer should do his/her best to make the motivic development apparent to

the audience, so that this contemporary composition is made as coherent as

possible. This can been said for contemporary music in general, as it is often

difficult to discern the melodies or motivic material upon the first listening

experience.

54

Instrumentation:

Music for Unaccompanied Saxophone

by William J. Schmidt (1926)

SYNOPSIS

Date of Composition: Solo Saxophone 1978

Publisher: Duration: Grade Level:

Western International Music 17 pieces, 1-4 minutes each 4-6

BIOGRAPHY

William J. Schmidt studied composition with Halsey Stevens and Ingolf

Dahl. He attended the United States Navy School of Music (1944-1946), the

Chicago Musical College (1946-1949), and received a B.M. and M.M. from the

University of Southern California. In 1958 he founded Avant Music which

merged with Western International Music, Inc. in 1964. His compositions are

usually for wind instruments with piano accompaniment, or for chamber

groups. He has composed many works for the saxophone with varying

instrumentation. For example, Concertino for Piano is scored for saxophone

quartet and piano, Jazz Suite is for two tenor saxophones and percussion, and

Variegations (1973) is for alto saxophone and organ.

COMPOSITION INFORMATION

Music for Unaccompanied Saxophone is a compilation of 17 short pieces

of varying difficulty for unaccompanied saxophone (soprano, alto, tenor, or

baritone). Most of these pieces best function as etudes, while some may serve

as solo material. This is not to say that any given piece in this collection

cannot function as both an etude and solo work. In fact, the titles of some of

S5

the pieces indicate that they are specifically study material. The following is a

list of the contents as it appears in the contents of the collection:

Etude #1 Toccata Variations on "Mississippi" Rhythmic Study #1 Waltz Etude #2 Rhythmic Study #2 Blues Gigue

Trills Ri torn ell 0 Variations on a Whaling Song Rhythmic Study #3 Rhapsody on a Hexachord Caprice March No tturn 0

PERFORMANCE CONSIDERATIONS

When considering this collection of pieces, the saxophonist would best

be served if hel she realizes that they are collection of etude pieces. This is

very evident when sight-reading the works. They offer the performer some

problems related specifically to performing an unaccompanied work, as well

as technical problems the saxophonist will encounter in the solo repertoire,

primarily. The saxophonist alone is responsible for establishing the character

of each piece and maintaining it throughout. However, this is not difficult

because each piece is very short, 1-4 minutes. Three of the works require the

performer to play with a sense of rubato, without traditional metric notation,

which is often the case in contemporary music.

Extended technique is not a factor in any of these works. The only thing

remotely related to extended technique would be the subtone indication in the

Rhythmic Study #1 and the Notturno. Technically, the pieces offer a variety of

situations to be aware of, many which are complicated by metric markings

unfamiliar to the young perfonner. The Toccata is written in 5/8, interspersed

with 3/8 and 6/8 metric markings. Rhythmic Studies #1 and #2 are each

56

written with additive metric markings, 7/4 and 1118 respectively. These

present counting problems for the young or immature performer, who must

be able to subdivide these rhythms in order to perform the movements

accurately.

In some of the pieces of this collection, Mr. Schmidt focuses on one or

two technical problems the performer should be aware of as he/she begins a

study of that piece. The rhythmic studies all focus on rhythm of course. Other

pieces specifically highlight one musical technique; for example, the Toccata

focuses on tonguing, Trills focuses on trills, Notturno focuses on rubato, and

Blues focuses on grace notes.

ANALYSIS

As indicated above these pieces are very short. This supports the

general purpose of the collection as etudes, and each piece contains one

thematic idea. Mr. Schmidt presents the idea at the beginning, does some

variation on its motives, and concludes the piece with a presentation of that

motive or a variation of it. In the case of the two variations in the collection,

this is done to a larger extent.

Three of the pieces stand-out as musically more Significant than the

others. They are: Notturno, Rhapsodyon a Hexachord, and Etude #2. All three

of these pieces require the performer to play with the a sense of rubato, which

places a large amount of responsibility on him/her to create a musically

satisfying performance. Each of the pieces is based on motives, and variations

of those motives, in a loosely co